New Brunswick-based woodwind quintet Ventus Machina is showing off the breadth of their musical influences with their latest offering, Roots. Containing selections from historical composers (Bach) modern Canadian legends (Joni Mitchell, Leonard Cohen), and strong original works that rework other arrangements, Roots is a quilt of the quintet’s own musical muses. It endeavours to show off that there is much more to this quintet than polished classical fare.
Roots is an apt analogy for the sound on display across this collection. While there is the more obvious connotation of Ventus Machina digging into their own roots as musicians and showcasing these different spheres of influence, the instrumentation and compositions have a very natural quality to them. There are obviously some inherent points for that with woodwinds (a la Peter and the Wolf and the instrumental name itself), but the sound, album name, and lush album art all seem geared towards this idea.
Ventus Machina thoroughly navigates the entire spectrum of woodwinds’ qualities across Roots. While a predominantly woodwind base does have a very distinct character to its sound, the group finds ways to push the boundaries of what is being explored within those characteristic confines; the result is an extensive dive into the images, feelings, and sensations that woodwinds can manifest. From lofty highs to sullen lows, the trees of their sonic forest are traversed from soil to sky.
Much of the arrangements are by quintet clarinetist James Kalyn. The first movement of the album is the “Our Roots” medley, utilizing one piece of music chosen by each member of the group. The variation amongst these pieces alone show the groups depth of influences: from hymns to Bach, from Quebecois classic to Swedish folk, the group has been inspired by works across the world.
One section of the album, the “Celtic Suite”, are arrangements commissioned by Ventus Machina in 2017 from former Barenaked Ladies musician Andrew Creeggan, all inspired by the works of accordionist Bobby Brown. The first and second parts, “The Whistling Farmer” and “Blue Mountain Waltz”, feel like standard and warm pieces for the quintet. However, it is the final part, “Trip to Windsor”, that truly sets the Suite apart- one of the most dynamic offerings on the album, it moves from busyness to ominous intensity seamlessly.
There are big, easily recognizable track names within Roots, each holding a fair amount of expectation. The Beatles’ “Blackbird”, an endlessly covered track, is handled in a refreshingly unique way- building from a flighty and intense aviary to a triumphant march of the iconic melody. The arrangement of Joni Mitchel’s “Circle Game” misses the mark though, with a rather rigid-sounding children’s choir and hard rhythm lacking the soul of the original.
However, soul is more than made up for in the closing piece of Roots. Leonard Cohen’s “Bird on the Wire” is explored beautifully here, the pieces of this recording first alluring in disjointed nature before coming together for the verses. Kalyn’s vocals are a nice addition, and the use of simplistic and self-made percussion gives an experimental bend to the whole affair. There is a looseness and fun to this arrangement’s approach that takes the directions Ventus Machina were stepping in earlier and sends them soaring to these new sonic ideas, seeing just how far those roots stretch.
Ventus Machina is a group keenly aware of how their own musical histories- and musical history in general- weaves together to form our modern sensibilities. And in that examination, there are so many interesting branches to be discovered. Roots shows just how the different flora across this quintet’s path has cross-pollinated to form the tree that stands today. And unmistakably, it is in full bloom.